1. Audition Unit
KPHS Theatre

2. Auditioning Terms
A. The number one cause of nerves. 1. Lack of preparations. 2. Preparation is the difference nervousness and fear of failure.

3. B. Different Kinds of Auditions 1. Open Audition- all people welcome 2
B. Different Kinds of Auditions 1. Open Audition- all people welcome 2. Closed Audition- Very specific i.e year olds, Only Blondes

4. C. Types of Auditions 1. Monologues- 1 person speaking 2 Comedy/Serious, 1-2 Minutes, Contrasting 2. Improvisation- Make it up as you go along 3. Cold reading- You are handed a script at the rehearsal, you may request time to look it over, perform reading, the director is seeing what you can do 4. Prepared reading- Short scene, 2 or more

5. The director is seeing if you listen and follow directions
Audition Demeanor 
A. Pre Audition
Walk in Confidently
Hand in your forms to the stage manager
The director will give instructions... “Listen”
The director is seeing if you listen and follow directions

6. B. During your Audition Never Apologize Never Stop/Start Over
Walk confidently to the stage
Give your name distinctly
Perform your audition piece
Never Apologize
Never Stop/Start Over
Never ask “How did I do?”

7. C. After your Audition 
Say Thank You and Walk Confidently off the Stage and Sit Down
Sit Quietly if you are allowed to stay in the room
Pretend You Were Wonderful but don’t be cocky
Do NOT Break Character EVER
You may talk to the director if necessary keep it professional
Don’t cut your hair after audition until you know you are cast. If you are cast in the show, don’t cut your hair unless you ask the director

8. If you are not cast
Don’t ask why you weren’t cast (Michael Shurtleff says: “You will rarely get the truth, and if you do you probably won’t like what you hear.”)
give yourself time to get over the disappointment
understand that every audition experience is an opportunity to learn. Find something to improve
use class as a time to work and improve your skills

9. Dos and Don’ts 
A. Audition Packet 1. Fill out form with the requested information no blanks don’t add information 2. List ALL your conflicts don’t eliminate any because you want to be cast and then add them later when cast we cast you with all of your conflicts 3. Review the rehearsal schedule

10. B. Appearance Wear conservative clothing Wear nice clothing No logos
B. Appearance
Wear conservative clothing
Wear nice clothing
No logos
Be professional/neat/nice
Not too tight/not too baggy
Hair- keep it out of your face

11. Slating
Definition – the introduction of the selection, and the actor.

12. If the time starts when you begin your actual monologue it should follow this guideline.
“Hello, good evening, good morning, etc. My name is ______ I will be performing two contrasting monologues. The first is from Title of Play by Author and I will be portraying character’s name. The second selection is from Title by Author and I will be portraying Character’s name.

13. If the time starts as soon as you open your mouth, then you should follow this guideline.
“Hello, good evening/good morning, etc. My name is ­­­­­­_______ I will be portraying Character’s name from Title and Character’s name from Title.

14. Choosing a great monologue
Does the piece fit you? (age, gender, type, etc.)
Does the piece speak to you? (can you relate to it)
Is the piece appropriate for the audition? (If the play is contemporary is the monologue contemporary)
Is the monologue from a play? (You always want a monologue from a play. It makes it easier to create a character based on the playwrights work. Often the director may be familiar with the selection and you want it to accurately depict the playwrights intent.)
Is the monologue new and fresh? (Director’s get tired of seeing the same monologue over and over. You want to stand out.)
Do YOU like the selection? (How can you expect someone to enjoy your audition if you don’t like the piece you have chosen?)

15. How to Memorize a monologue
The best place to start is reading the entire play. You will understand the context of the monologue so much better if you have read the entire play.
Locate the triggers in the selection. Triggers are what causes the character to say or do what they do. Sometimes the triggers are not clear – you may have to create them yourself.
Practice – to yourself, to your friends, to your family, out loud!!!!
The following strategies are only ways to remember the words. It is recommended that these be done in addition to 1, 2, 3, and 4 not in place of them.
Write the monologue out in long hand (no computer)
Record yourself and listen to the monologue over and over.
Recite your monologue over and over.

16. What are the director’s looking for?
In short – someone to win the part.
Directors always want someone that stands out from the rest that they know is perfect for the part.
They want to see someone who can create a character.
They want to see you the person before and after the monologue
They want to see that you are a pleasant and easy to work with human being.
They want to see that you can work with a group of people collaboratively.

17. Little nuggets of truth
Do not mistake memorization for acting.
There is nothing worse than watching monologues that are simply memorized.
At the very least interpret the lines to mean something other than simply what they say.
Be friendly
To the directors
To the stage manager
To your fellow actors
Give it your best shot
Sell out completely – don’t hold anything back
Have fun – we understand the pressure – we have been there.
Finally – learn from the opportunity.